{"id":1743,"date":"2013-12-24T22:49:36","date_gmt":"2013-12-24T20:49:36","guid":{"rendered":"http:\/\/test.letmekoo.lt\/?page_id=1743"},"modified":"2023-02-09T14:58:21","modified_gmt":"2023-02-09T12:58:21","slug":"juodyte-jurgita","status":"publish","type":"page","link":"https:\/\/www.letmekoo.lt\/en\/artists\/juodyte-jurgita\/","title":{"rendered":"Juodyt\u0117 Jurgita"},"content":{"rendered":"

\"Jurgitajuodyte.Gera<\/a><\/strong> Good Mother, Bad Mother, 2013, video performance, 45 min. Performed at a playground for children. <\/strong><\/p>\n

One day we become mothers. Nobody teaches us how to play this game. Yet society expects us to do everything right. \u201cBe a good mother,\u201d we are told. So we keep hopping around, trying to make good parenting decisions and avoid bad ones. There is no school for motherhood. The nine months of pregnancy and the pangs of delivery are supposed to miraculously transform a woman into a mother, an egocentric individual seeking financial autonomy, spiritual growth and self-dependence into a self-sacrificing one. Yet eventually the contours of the evaluation criteria become blurred, and it is only the end result \u2013 the child \u2013 that remains important.<\/p>\n

\"Jurgitajuodyte<\/a> Dialect, 2013, video performance, 5 min. Performed at a construction site. <\/strong>.<\/p>\n

THE LINGUISTIC TRADITION GROWS SILENT, UNDERGOES TRANSFORMATION AND SUFFERS DEFEAT IN THE FACE OF GLOBALIZATION. A dialect is an unchanging, stable, innate, earliest linguistic skill received with blood. Archaic heritage does not change in time and is strictly tied to a certain location and its inhabitants, which produces an isolated habitat, a closed community that speaks a specific language only its members can understand. Continuity of tradition requires transmission, any disturbance of the routine ways of the isolated habitat (e. g. emigration) introduces rules of its own and leads to decline of the tradition (\u201cGranny, do you have chickens?\u201d \u2013 a little boy asks his grandma when he comes from London to visit her in the village of Vaitk\u016bnai, Kai\u0161iadorys district, saying the phrase in Lithuanian except the English \u201cchickens\u201d).<\/p>\n

\"Jurgitajuodyte<\/a><\/p>\n

Contemporary Madonnas,\u00a02011-2013, photographs in lightboxes, 430 x 604 mm, 8 pieces.\u00a0The project involved childless thirty-something women of different professions.<\/strong><\/p>\n

Contemporary madonnas do not necessarily hold a baby in their lap. They hold numerous other things \u2013 their jobs, careers, homes, mortgages, hobbies, renovations, loved ones, pets, parents, journeys… and themselves. What does a woman hold in her hands if she has no infant in here life? How to stand firm against the social pressure: \u201cTime is ticking away \u2013 you are thirty already…\u201d? What kind of movement do her hands make \u2013 defence, rest, struggle, surrender..? While photographing the women, the element of waiting was important to me. Waiting for them to relax to the point where unusual clothing or stage props stopped bothering them. That was the moment when I would press the shutter button. At that very instant a contemporary childless madonna would go back to being a lawyer, manager, artist, accountant… or simply herself. The project was exhibited at Gallery 101 in Kaunas (2011), Klaip\u0117da Culture Communication Centre’s exhibition hall (2012), and Center for Contemporary Art Plovdiv, The Ancient Bath, Plovdiv, Bulgaria (2013).<\/p>\n

\"Jurgitajuodyte<\/a> Till Death Do Us Part, 2011, video performance, 9 min. Performed in a Catholic church. <\/strong><\/p>\n

One is supposed to marry once and for a lifetime. Yet sometimes marriage lasts only ten metres \u2013 from the central altar to the church’s door. These ten metres contain joy, expectations and… pain, if they end in a failure. \u201cTill death do us part.\u201d God binds. People break. A woman wearing a bridal dress and veil rolls up the red carpet spread in the central aisle of the church. She dips the edge of her dress in the water and starts washing the floor with it. Her kneeling figure moves from the central altar to the central exit. It moves slowly, dragging the water vessel along. The whole central aisle of the church is washed with the edge of the bride’s dress. As it reaches the central exit, the figure disappears.<\/p>\n

\"Jurgitajuodyte<\/a><\/p>\n

There Are People in Kaunas, Too, 2007, posters in public spaces. <\/strong><\/p>\n

We live in a city whose profound inferiority complex becomes a matter of debate in the press, online, and in private conversations; the municipality of Kaunas is trying hard to change the city’s negative image. These publicity efforts become ridiculous when they take the form of ambiguous social advertising messages in public spaces. The project There Are People in Kaunas, Too explores the methods of building a city’s image. It functions as an ironic comment on the stereotypical figure of a Kaunas resident. In this case, the project’s message also mocks the capital’s perception of \u201cthe periphery\u201d. The project seeks to confuse the viewer by creating an illusion of competition. The social advertising campaign There Are People in Kaunas, Too is transferred to Vilnius. Here the billboard was exhibited for a month at the intersection of Pylimo and Kalinausko streets.<\/p>\n

Personal Exhibitions:<\/strong>
\n2018 One Day Project of Art and Engineering \u201eArt stops the train.The train switches on art\u201d (Railway station, Kai\u0161iadorys)
\n2015 Review of personal videoperformances \u201eFailure \/ Life\u201d (cinema \u201ePasaka\u201d Vilnius).
\n2012 \u201eRelic of womans\u201d, (Klaip\u0117da Culture Communication Centre, Klaip\u0117da).
\n2011 \u201eContemporary Madonnas\u201d, (\u201e101\u201c gallery, Kaunas).<\/p>\n

Group Exhibitions:<\/strong>
\n2022 Baltic Art Festival \u201cVOLUME UP\u201d (Grace Exhibition Space, Manhattan, New York)
\n2022 Exhibition \u201cKaunas\u2013Vilnius: Moving Mountains\u201d (part of the Kaunas \u2013 European Capital of Culture 2022 programme)
\n2021 Lithuanian videospritz (Trieste Contemporanea, Trieste, Italy)
\n2021 Exhibition \u201cDominican Arts Days\u201d (St. Catherine\u2019s Monastery, Tallinn, Estonia)
\n2020 Exhibition \u201c7 Women \u2013 7 Truths\u201d (Dominican Monastery, Vilnius)
\n2019 Project \u201cA woman\u2019s work\u201d (European Prospects c\/o Ffotogallery, Cardiff, Wales, UK)
\n2019 Exhibition \u201eThe Sweet Sweat of the Future\u201d (National Gallery of Art, Vilnius)
\n2017 Lithuanian Interdisciplinary Artists\u2019 Association conference, Vilnius
\n2017 Exhibition \u201eMagnum\u201d (Culture Night Program, National Gallery of Art, Vilnius)
\n2016 Exhibition \u201eRamintoja.Art Warehouse\u201d (St. Mary\u2019s Calming Church, Vilnius)
\n2015 Drawing triennial \u201eBLACK and WHITE\u201d (Talin-Viinistu, Estonia)
\n2014 Talking about slow art (gallery \u201eGracious\u201c, Vilnius)
\n2013 Exhibition \u201cApproaches to Happiness\u201c (Center for Contemporary Art \u2013 Plovdiv, Plavdiv, Bulgaria).
\n2013 VIII international media art and music festival \u201eCentre\u201d(cinema \u201eRomuva\u201d, Kaunas).
\n2010 Exhibition \u201eLithuanian art 2000-2010: Ten years\u201d, (\u201eContemporary art centre, Vilnius).
\n2009 Exhibition \u201eForms of Narrative\u201d, (Birnam Art Centre, Perthshire, Scotland).
\n2008 International print biennale \u201ePresent time\u201d (Contemporary art centre, Vilnius).
\n2008 Workchop \u201eGalery Akademija\u201d (\u201eAkademija\u201c art galery, Vilnius).
\n2007 Project and exhibition \u201e3xpozicija\u201d (\u201eProspektas\u201c gallery of photography, Vilnius).
\n2007 Exhibition \u201e2420 \u010ciurlionis\u201c (Contemporary art centre, Vilnius).
\n2007 Contest of young photographer (Prospektas\u201c gallery of photography, Vilnius).
\n2007 Student art day 2007 (\u201eAkademija\u201c art galery, Vilnius).
\n2006 Exhibition \u201eRust\u201c ((\u201eFujiFilm\u201d Photo Gallery, Kaunas).
\n2006 Exhibition \u201eNeopop lt\u201c (\u201eIntro\u201c galery, Vilnius).
\n2006 \u201e101,3 KM\u201c (Contemporary art centre, Vilnius).
\n2006 International print biennale \u201eNow art, now future\u201d (\u201eLangas\u201d art galery, Kaunas).
\n2006 Exhibition of textile \u201eWhite\u201c (Museum of M.Jankut\u0117 \u2013 Marks, K\u0117dainiai).
\n2005 Exhibition \u201eEnthusiast\u201c (Contemporary art centre, Vilnius).
\n2005 Project \u201eFor free\u201c (\u201eKaunas marketing town\u201d, Kaunas).
\n2005 International textile biennale \u201905 (Art museum of M.K. \u010ciurlionis, Kaunas).
\n2005 Student art day 2005 ((\u201eIntro\u201c galery, Vilnius).
\n2005 Exhibition \u201eIlluzion\u201c (Vilnius garden of botany, Vilnius).<\/p>\n

 <\/p>\n

Art critic on\u2026<\/strong><\/p>\n

Once again, artist Jurgita Juodyt\u0117 probes the expectations that a woman faces, her role in society, and the feeling that comes with the realization of this. She listens attentively to the external requirements \u2013 the lifestyles imposed by advertising, the stereotypical division of household chores and, in this case, the clich\u00e9s of Christian iconography \u2013 and tries them on as if they were clothes. Employing the strategy of transgression (adoption of the other’s views), the artist observes, and invites the viewer to observe, the consequences of her experiment \u2013 the discovered mismatches and emerging new meanings.<\/em><\/p>\n

Monika Krik\u0161topaityt\u0117<\/em><\/p>\n

Personal Website<\/a><\/strong><\/p>\n

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